[

The Portfolio Vol. 12, No.2 Summer 1995 The Nonnan Rockwell Museum at Stockbridge

Building an Art Collection Laurie Norton Moffatt, Director

Mr. al/d Mrs. Robert lIemy, seen here witb Director l.ollrie Nortoll Moffatt, graciollsly dOllated a study for a Saturday Evening Post cover. See page 3 for details.

Sldj/"Phutu

One of the most exciting

moments for a museum director

is adding more art to the

collection! Musewns celebrate

the arrival of new paintings,

objects, and photographs. They

relate the story of our lives,

and who better to tell tlle story

of 20th-century America than

Norman Rockwell?

Norman Rockwell was the

museum's ftrst art donor. He

left most of his art collection

in tmst to the museum in 1973,

and added his archives and

studio in 1976. Since then, the

museum has added to its

collection by purchases, gifts,

and bequests. The Norman

Rockwell Museum now has

more than 500 original drawings,

sketches and paintings. How­

ever, only 105 are ftnished oil

paintings for publication. While

Norman Rockwell did nearly

4,000 works, our museum has

only an eighth of his total

output. We are working to build

our collection to make it avail­

able both in Stockbridge and in

traveling exhibitions.

A collection can be built in the

following ways:

Original oil paintings now

sell at auction for hundreds of

thousands of dollars. Thus,

purchases can rapidly deplete

our acquisition fund.

Donations, bequests and

"bargain" sales are ways that a

collector may donate a work to a

not-for-proftt museum and re­

ceive tax beneftts as well as the

satisfaction that the object will

be properly preserved and seen

by visitors for generations.

Lending is another gratifying

way to see one's art appreciated

by thousands of people. TillS

year's A Centennial Celebration show features works from 21

lenders, whose generosity we

gratefully acknowledge.

Sharing dialogue with cur­

ators, the director, and the board

is but one of the ways that len­

ders and donors enjoy a special

relationship with the museum.

During the last 15 years, 29

generous donors have given their

original Rockwell works to the

museum, and over one hundred

people have donated to the

archives. In this Portfolio issue,

we salute Mr. and Mrs. Robert

Henry, who have recently do­

nated an important color study

to the museum.

You, too, can help our collec­

tion grow, even if you don't own

a painting, by attending the Arts

Ball on July 8,1995, which will

raise support for the museum's

acquisition fund. For more on

this gala evening, read about it

on page eleven.

The Norman Rockwell

Museum is working diligently

to expand our collection. We

talk to gallery owners, watch the

auctions and follow tlle market.

We cherish our long-standing

relationships with the owners

of NOn1lan Rockwell's art, and

we hope tllat someday tllese

relationships might bring about

additions to our collection

tlrrough loans, purchases or gifts.

2

Legacy Society to Receive Spencer Tracy Portrait Philip S. Deely, Associate Director for External Relations

The Fall issue of The Portfolio

carried the announcement

of the formation of the Norman

Rockwell Museum Legacy

Society to recognize those

individuals who make provision

for the museum in their

estate planning. One of the fIrst

responses came from Ted and

Barbara Judd of Tallahassee,

Florida. The Judds wrote to tell

the museum of their intention to

donate a charcoal portrait of

Spencer Tracy. Excerpts from

their letter tell a fascinating tale:

Leaving their legacy- The Judds pose with tbeir Portrait of Spencer Tracy by Norman Rockwell. SrajJ Phoro

It is our understanding that the

charcoal portrait of Spencer Tracy

was commissioned by the Play­

wrights' Company for the playbill

of the Broadway production of The Rugged Path by Robert E. Sherwood. [Editor's Note:

Robert Sherwood was the

brother of Ros Sherwood, one

of the original founders of

the Old Comer House / The

Norman Rockwell Museurn.]

The play, which starred Spencer

Tracy, was about World War II. It opened at the Plymouth Theatre in

New York on November 10, 1945.

We were told that for some reason

Spencer Tracy refused to sit for

the portrait for more than a few

minutes, and that Norman Rockwell

had to use photographs of Mr. Tracy

to complete it. When the show

opened on Broadway, the cover of

the playbill featured a photograph of

Spencer Tracy rather than Mr.

Rockwell's sketch. We have been

unable to determine why this change

was made, although ... the pboto­

graph made Mr. Tracy look consider­

ably younger than the Rockwell

portrait.

Tbe Rockwell portrait was stored

away in the Playwrights' Company

office ... [and] very few people

bave ever seen the portrait, wbicb

brings us to tbe reason why we

decided to leave it to tbe Rockwell

Museum in our will. We wanted

it to go to someone who would

recognize it for its artistic value and

who would see that it gets a ''good

home." We couldn't think of any

more appropriate recipient than the

Rockwell Museum.

Everyone at the museum is

deeply appreciative of the gen­

erosity of spirit represented by

the Judd's intended donation.

Readers who would like further

infot1nation about making a

planned gift to the Norman

Rockwell Museum are invited

to contact Philip S. Deely,

Associate Director for External

Relations (413) 298-4122.

The Norman Rockwell Museum Board of Trustees Lila W. Berle President

David L. Klausmeyer Vice-President

Patricia Deely Second Vice-President

Steven Spielberg Third Vice-President

Perri Petricca Treasurer

Thomas Patti Clerk

J ohn T. Batty III Timothy R. McLevish

Bobbie Crosby Linn Cary Mehta

Daniel DuBois William J. Napolitano

Joan SerVaas Durham BrianJ. Quinn

Theodore H . Evans Jean Rousseau

Jane P. Fitzpatrick Mark Selkowitz

William Goessel Ronald Staffieri

Paul W. Ivory Douglas Trumbull

H . Chet Krentzman Laughran S. Vaber

Robert F. McDermott Richard Wil cox

Lee Williams

[Ionorary Board Members John M. Deely, Jr. Norma G. Ogden

Laurie Norron Moffatt, Director

Cris Raymond , Editor

The Portfolio is published four times a year

by The Norman Rockwell Museum at

Stockbridge, I nc., and is sent free to all members.

Copy right 1995 The Norman Rockwell Museum

at Stockbridge. Drawings used by permission of

the Norman Rockwell Family T rust.

Curator's Corner Maureen Hart Hennessey, Curator

The Norman Rockwell Mu­

seum is pleased to announce its

newest acquisition, a color study

for the March 17, 1945 Saturday

Evening Post cover, Income Tax.

The study has been donated

to the museum by Mr. and Mrs.

Robert Henry of Lancaster, P A. The oil on photograph on board

depicts a harried taxpayer, seen

from behind, as he attempts

to make the March 15, 1945 in­

come tax deadline. The study is

markedly different from the fmal

Post cover. Here, a woman is

seen slouched in a chair next to

the desk. She seems to be hold­

ing a sleeping cat and a check-

By comparing the oil study with the filial Post cover, the viewer can better understand Rockwel/'s attellfioll to detail. J ncomc Tax (study), oil 011 photograph 011 board, f9.1-5. ©194S The Cllrtis Pllblisbi1lg Compa1l]

book as she patientIy awaits the

final outcome. The published

cover depicts only the gentleman

at his desk, burning the mid­

night oil. The donation is made

in memory of Marjorie Aldrich

Morrow, Mr. Henry's motller.

Marjorie Aldrich knew Mr.

Rockwell in grade and high

school in Mamaroneck, NY. A

first edition of the 1946 book

Norman Rockwell, Illustrator, also

donated by the Henrys, is in­

scribed "My best to Marjorie

Aldrich, who was tIle first girl I

ever loved, sincerely Norman

Rockwell." According to Robert

Henry, his mother and Rockwell

periodically kept in touch over

the many years after they both

left Mamaroneck High School,

he to attend art school and

3

In 1964, Mrs. Morrow and her

husband visited tile Rockwells in

Stockbridge. Two letters dating

from the time of that visit, as

well as a collection of news clips

about Norman Rockwell, com­

plete tile Henrys' donation.

As we at tile museum continue

to learn more about the steps

Norman Rockwell used to made

his pictures, Mr. and Mrs.

Henry's donation of tile Income

Tax color study is a significant

piece for our research, and en­

sures tIle ongoing preservation of

tIle work. More importantly,

with tile addition of tIle letters

and the book, we now have a

record of Marjorie Aldrich's

story and her friendship with

Norman Rockwell . The mu­

seum is honored to serve as tile

she to attend a Quaker academy. repository for the wonderful gift.

4

Where Do We Go from Here? Maud Ayson, Associate Director for Education

Bea Snyder, Manager oj Public Affairs & Membership

If it weren't for "Did Rockwell

live in that stone building?"

the question museum staff hear

most is "We loved it here. Can

you help us decide where to

go next?" After traveling great

distances to enjoy Rockwell's

paintings, guests often look to

staff for information and practi­

cal suggestions to make their

museum visit and Berkshire stay

the very best it can be. Like

our visitors who ask where to

go next, museum staff also are

wondering what's up ahead,

how to avoid sudden bumps in

the road, and where unantici­

pated detours will manage

change and foster growth.

By our second summer season

of settling in the new building

and fme tuning operations,

the museum reached an impor­

tant institutional crossroads.

Museum staff and board began

asking questions and making

plans for where the museum

would want to be by the end

of this century. Fortunately,

there is a MAP-the Museum

Assessment Program---designed

especially for museums in the

United States. The NRM is

one of 37 museums (four in

New England) participating in

MAP funded by the Institute

of Musewn Services. This

program of self-study and peer

review offers museums a selec­

tion of assessment tools, tech­

niques, and resources. Using

MAP as a guidebook, we began

a journey of evaluation and

dialogue to help us better under­

stand how people perceive and

value museum experiences

and services. This process is

enabling us to improve what we

do, build on successes, and

explore new opportunities and

directions for our future.

MAP was accomplished by

inviting residents, tourists,

museum visitors and members

to participate in discussions,

surveys, interviews and focus

groups. More than 700 people

offered thoughtful observations,

candid suggestions, and practical

recommendations. Staff teams

began by going to selected

area towns, tourist attractions,

and information centers to

determine how people get infor-

mation about the museum

and what it is that people think "we do." We discovered that

people ranked us among the top

tourist destinations, and that

they took enormous pride

in promoting the museum to

friends and tourists.

From August to November of

1994,400 randomly selected

visitors were asked to complete

surveys and rate visitor services,

amenities, exhibitions, programs,

and publications. A separate

Members' Survey was also sent

to members and friends in

the winter issue of the Portfolio. The information from d1ese

surveys offers interesting

glimpses into people's interests

and seasonal trends. Adult

attendance is becoming more

evenly distributed across

the generations. There is an

increase in attendance among

adults under age 34 (up 10%)

along with a wonderful growth

in family and student visitors.

Members and visitors alike

said, "Keep doing what you're

doing, great job!" and "Everyone

makes us feel so welcome."

Visitors spend more than 1 1/2

hours here, and typically come

wid1 family or friends. Most

are tourists from the following

seven states: Massachusetts,

New York, Connecticut, New

Jersey, California, Pennsylvania,

and Florida. They come to

see their "favorite works of art."

We're pleased to say that

customer satisfaction was high

(95%), and more than 15% have

come twice in the past year.

Among the useful suggestions

were having a site map and a

curb-side welcome area. Both

ideas were tested last October

and repeated this past season.

Museum members come from

all fIfty states and ten foreign

countries and read the Portfolio "from cover to cover." The

newsletter is "great as is!" and

offers members a "link to the

museum." For many, aNRM

membership is "a way to pre­

serve Rockwell's unique contri­

bution to our world." Articles

by the director, education and

curatorial staff were "anticipated

and enjoyed" the most. Mem­

bers suggested more articles

on Rockwell's life, additional

information on selected illustra­

tions, and the development

of media tours of the museum.

To involve people more

directly and personally in this

process, 30 people were invited

to participate in three focus

groups held in Massachusetts

and New York. Assisted by

John Hussey, a professional

facilitator who donated his

expertise to the museum, these

face-to-face dialogues were

instrumental in clarifying mis­

conceptions and in providing

sound suggestions on ways

to improve operations, services,

and programs.

Soon we shall host a MAP

team of two museum colleagues

who will spend two days

meeting with our director, staff,

and board, and observing mu­

seum programs. From this

rigorous agenda of discussions

and meetings, this team will

prepare a [mal report and

recommendations to help tlle

NRM maintain its popularity

and plan for the next dynamic

decade, where we stand ready

to build irmovative markets,

audiences, and collaborations.

You Talked n,e Listened! The Result?

5

In response to your suggestions,

the museum began program

discounts, explored new mem­

bership categories, and expanded

discounts and free-admission

days from four to eight annually.

Museum gallery pedestals now

offer anecdotes and information

on selected images. Some also

display museum maps and

an exhibition checklist. Staff are

exploring the possibility of

making tapes of programs and

tours available to members.

Look for topics, availability, and

fees in the next issue.

A visitor reads all abollt Stockbridge Main Street at Christmas.

©1995 Steve}acob" photograpber

6

A Centennial Celebration-On The Twentieth Century Maureen Hart Hennessey, Curator

NOlman Rockwell is perhaps

best lrnown for his images of

friendly small towns and family

scenes. At the same time,

Rockwell, as dle premier illu­

strator of his age, was also in a

unique position to cover me

significant events in twentiem­

cenhU'y America and the

people who helped shape me

nation and me world. In On the

Twentieth Century, dle durd

section of A Centennial Celebra­

tion, we focus on Rockwell's

images of a changing society

and its impact on Americans.

In a career that spanned seven

The Gossips, oil 011 callvas, 19-18. Private Collectioll. ©/N8 Tbr Curlis Publishing CompollY

Let's gi\'e him Enough and

on Ti me, oil 011 ca livas, 19'12. Colleetioll of the u.s. Arm)' Cellfer ofMilitiu)1 11i.l'tOly.

decades, NOlman Rockwell's

work reflects technological inno­

vations, social upheavals, and

world conflicts. Yet, even in

paintings mat Rockwell referred

to as his "big pictures," mose

depicting issues of global con­

cern, Norman Rockwell focuses

on me individual and how mose

issues affect l1im.

let s give him Enough and on

Time (1942) is one of dlese

"big pictures." The unage was

Rockwell's first World War II

poster, calling for increased

production in weapons plants.

Rockwell's original study

showed a SnlilUlg soldier waving

from behind his machme gun.

The final version, completed as

U.S. forces were suffering

heavy casualties in dle Pacific

meater, shows a determined

gunner down to his last bullet.

The painting is also unique

as it is Norman Rockwell's only

World War II combat picture.

Changing technology and its

effect on people's lives is a

recurring meme in Rockwell

illustrations. Often, dle latest

innovation-me new tele-

vision antenna or a first airplane

trip-is dle focus of me unage.

Frequendy, however, me focus

simply becomes part of me

action. The Gossips (1948) depicts

me fun and, sometimes, trouble

found on a small-town grape­

vine. The models for the gossip­

ing figures were Rockwell's

Arlington, Vermont neighbors,

and, to prevent any hard feel­

ings, Rockwell included himself

as the subject of me gossip

and his wife, Mary, as one of the

tale-tellers. Note how Mary

Rockwell passes her share of me

story along-by telephone. The

phone is introduced nlidway

in the painting and pronlinendy

featured in Mary's hand.

1 J

1 J

1 J

New Kids in the Neighborhood, oil 011 canvas, 1967. Norman Rockwell Art Collection Trust. ©J967 Tbe Nor1ll(1!1 RockweLL Famj~"1 Trust

At right, Saying Grace, oil 011 canvas, 1951.

Private Collectioll. ©1951 The Curtis Publishillg Company

In the 1960s, Rockwell's illu­

strations became more focused

on current events and areas

of social concern. He portrayed

the Civil Rights Movement and

other changes in society in ways

all Americans could understand.

New Kids in the Neighborhood, Rockwell's 1967 illustration of

suburban integration, is a won­

derful example of Rockwell's

ability to present a complex issue

in tern1S that are at once simple

and compelling. As he had done

previously in his landmark Civil

Rights work, The ProbLem We ALl Live With, the illustrator focuses

here on children and their roles

in the issue. His attention to

detail-both boys hold baseball

gloves, the nosy neighbor peer­

ing out the window two doors

up, the dog's tense ears as he

spies the cat-lends credibility

to a scene that could easily be

sentimentalized.

Norman Rockwell's special

gift for capturing both the com­

monplace and the exn-aordinary

gave him a unique perspective from which he chronicled the

world. When depicting a World

War II "Armchair General" or

painting the candidate General

Eisenhower, Rockwell has

left us and the generations that

follow with an enduring vision

of twentieth-century America.

On behalf of our staff and

visitors, we would like to take

this opportunity to thank the

more than twenty lenders who

made A Centennial CeLebration possible. To our private lenders,

we extend our debt of gratitude

for sharing with the public

the images usually found in their

homes or corporate headquar­

ters. Without their generosity

many works, such as Saying Grace (1951), could not have

been included in this exhibition.

7

A Centennial Celebration may be

viewed at the Norman Rockwell

Museum at Stockbridge through

November 5,1995. This exhibit

is made possible in part by

underwriting from Brain Trust;

Country Curtains; GE, Plastics;

the Red Lion Inn; and Wheeler

& Taylor Insurance and Real

Estate, Inc.

8

The Artist and the Baseball Card Stephanie H. Plunkett, Manager of Adult Services

Self-portrait of illustrator a1ld exbibitioll curator, MUlTay Tinkelmall, as a Brooklyn Dodger.

Art enthusiasts and baseball

fans who wistfully recall the

spirit of a bygone era will enjoy

our exciting summer tribute to

the all-American pop icon-

the baseball card. Combining a

sense of individual ingenuity and

team interaction, two necess­

ities of the game, The Artist and the Baseball Card features 150

original interpretations of base­

ball cards by prominent contem­

porary artists and illustrators.

Exhibition curator Murray

Tinkelman, an illustrator and

professor of art at Syracuse

University, remembers growing

up in Brooklyn when the

baseball card was just one of

many cherished items he saved

in a scrapbook as an homage

to his heroes at Ebbets Field.

Tinkelman admits, "It was an

important part of growing up in

the 30's, and I was a crazed

Brooklyn Dodger fan." That

old scrapbook became an inspi­

rational spark as he began

to create and swap hand-drawn

trading cards with his fellow

artists. The wide range of inter­

pretive experiences that resulted

in the current exhibition give

the cards strength and interest as

a collection. Some are faithful

copies of traditional cards, and

some affectionate parodies.

Others recount tales of legend­

ary players and games, or

become personal flights of fancy.

The illustrious contributors

include Marshall Arisman,Joe

Bowler, Joe Ciardiello, Peter

Fiore, Phil Meggs, Nick Meglin,

GF. Payne, Charles Schultz,

and many other extraordinary

artists. Also, the National

Baseball Hall of Fame has

agreed to an unprecedented part­

nership by lending two major

Rockwell paintings to the

exhibition.

This J ul y and August, an

exciting array of exhibit-related

programs will explore the rela­

tionship of America's favorite

pastime to art and culture.

Renowned author Roger Kahn,

who penned such baseball

classics as The Boys of Summer, Good Enough to Dream and

The Era, will join us onJuly 13

to reflect on the game. Eliot

Asinof, author of Eight Men Out:

The Black Sox and the 1919

World Series, later adapted for

the movies, will discuss his

work on July 27. In August,

outstanding columnist Dan

Shaughnessy of The Boston Globe will share current view­

points. Two producers, Lynn

Novick and David Pietrosza,

will offer perspectives on the

sport's significance. OnJuly 15,

Novick, co-producer of Ken

Bum's Baseball, will explore the

making of the film. On August

19, David Pietrusza, who wrote

and produced the PBS docu­

mentary wcal Heroes: Baseball on Capital Region Diamonds, will take

a look at the life of our home­

town teams.

Two museum Insights pro­

grams will provide a feast for

body and soul! Join us for

brunch and discussion onJuly

23 with Murray Tinkelman and

illustrators Dennis Dittrich,

Irena Roman, and Marisabina

Russo, all of whose works will

be on view. On August 20,

historian William Simons will

explore Baseball and American Culture: The National Pastime as

Microcosm. Special gallery

talks will highlight Rockwell's

impressions of the game, and

our day trip to Cooperstown,

New York will take you to the

National Baseball Hall of Fame

and Museum, the Fenimore

House Museum and The

Fanner's Museum. Art work­

shops with Richard Rockwell

and Lynn Pauley will explore

drawing on location. Join

us for an invigorating summer

season of programs and events.

T he

Norman Rockwell

Museum at Stockbridge

July 8 Saturday 6:30pm-midnight

The Arts Ball See page II for details.

9 Sunday 3pm

Gallery Talk Season Ticket: Rockwell's Sports Images Discuss how Rockwell transformed humorous sport byplays into wonderful works of art, widl museum guide Roberta Wolff. Free wiili museum admission.

9 Sunday

Lasting Legacies opens at Allentown Art Museum. For information call 610-432-4333, ext. 10.

11 18 25 Tuesdays lO-llam , , Drawing T ogether* Share in an art class for parents and children, ages 4-8, and tryout different media. Bring sketchbooks; odler materials provided. Fee for parent/child pair: $30, Members $24.

11 18 Tuesdays 1-2pm , Imaginative Illustration* Using elements of nature found on ilie landscape, illustrate your imagination's fancy . Ages 8-12. Fee $20, Members $16.

13 20 27 Thursdays lOam-noon , , Summer Sketch Club* Explore line, shape, and color in iliis outdoor drawing class. Bring sketchbook; oilier materials provided. Ages 8-12 . Fee $30, Members $24.

13 Thursday 5:30pm

Three Authors Speak* Rejlections on the National Pastime Join us for the first of three evenings of readings and commentary wiili celebrated American authors. Roger Kahn has written twelve novels on baseball, including Good Enough To Dream, and The Boys of Summer. A book signing will follow. Fee $10, Members $8. Series $25, Members $20.

Programs &' Events

15 Saturday lOam-noon

Family Time Families are welcome to tour ilie museum widl a self-guide brochure. Adults wiili children are admitted at half price. Children $2.

15 Saturday lOam-3pm

Drawing from Life* The Art of Visual Reportage Explore ilie process of direct drawing to create an immediate record of the world around us wiili illustrator and courtroom artist Richard Rockwell. Fee $20, Members $15.

15 Saturday 5:30pm

Baseball* The Making of the Documentm) Go behind ilie scenes with Lynn Novick, co-producer of dle Ken Burns PBS television baseball series. Fee $10, Members $8.

17 Monday 5:30pm

Our Town* Enjoy an evening of theater! The Bigger Light Theatre Company performs Thornton Wilder's Our Town on ilie museum's beautiful landscape at 6:30pm. Before the show, explore Rockwell's vision of hometown America during gallery tours at 5:30. Fee $18, Members $15.

20 Thursday 6pm

Howard Pyle and the Golden Age of Illustration Jeanette Toohey, Delaware Art Museum Associate Curator for Collections, will speak at the Allentown Art Museum. Fee $5. For information call 610-432-4333, ext. 10.

23 Sunday llam

Insights: Talk & Brunch* The Artist and the Baseball Card Look into our special exhibition with exhibit curator Murray Tinkelman and illustrators Irena Roman, Dennis Dittrich and Marisabina Russo. Fee $15, Members $10.

23 Sunday 3pm

Gallery Talk Trading Cards Take an insightful look at ilie art in The Artist and the Baseball Card exhibition, wiili illustrator/ curator Murray Tinkelman. Free with museum admission.

25 -27 Tuesday-Thursday 1-4pm

Art Connections: Week One* This drawing/painting class especially for teens uses a variety of media. The museum landscape provides the inspiration. Ages 13-19. Fee $60, Members $45.

26 Wednesday 7pm

On the Big Screen Eight Men Out Enjoy a classic baseball movie on America's loss of innocence during the 1919 Worlds Series, inspired by ilie novel by Eliot Asinof. Fee $10, Members $8, Children $2.

27 Thursday 5:30pm

Three Authors Speak RejlectiollS on the National Pastime Join us for our second evening of readings and commentary, wiili ilie author of Eight Men Out, Eliot Asinof. Fee $10, Members $8. Series $25, Members $20.

27 Thursday 6pm

Norman Rockwell: A Centennial Celebration Laurie Norton Moffatt, Norman Rockwell Museum Director, will speak at the Allentown Art Museum. Fee $5. For information call 610-432-433 3, ext. 10.

::Pre-registration required

10

August 1 Tuesday 8am -7pm

Special Bus Trip to Cooperstown* Visit the National Baseball Hall of Fame, and enjoy a lunch and lecnlre at the Fenimore House Museum. Step back in time and enjoy The Farmer's Museum. Fee $55, Members $45.

1-3 Tuesday-Thursday

Art Connections: Week Two* See July 25-27 listing. Ages 13-19. Fee $60, Members $45 .

5 -6 Saturday-Sunday lOam-5pm

Art In the Yard Enjoy our annual outdoor juried art exhibition and sale. Free!

8 15 22 Tuesdays lO-llam , , Drawing Together* A special parent/child workshop. See July 11 , 18, 25 listing. Fee $30, Members $24.

9 Wednesday 2-5pm

Two Artists' Studios* Explore the studios of two Stockbridge resi­dents-Norman Rockwell and Daniel Chester French. Tours of both studios will offer insights into their creative process and work. Fee $15, Members of either organization $10.

10 17 24 Thursdays lOam-noon , , Summer Sketch Club* Art workshop for ages 8-12. See July 13, 20, 27 listing. Fee $30, Members $24.

10Thursday 5:30pm

Three Authors Speak* Reflections on the National Pastime Join the last in our series, with award winning author Dan Shaughnessy, sports columnist for dle Boston Globe. Fee $10, Members $8.

15 _19Tuesday-Saturday lOam-5pm

A Stockbridge Sketchbook* Artist/illustrator Lynn Pauley conducts this week-long location class. Emphasis is placed on learning to see more intently. Lpm Pauley's work appears in Rolling Stone, and The New Yorker among olliers. Fee $200, Members $185.

1 9 Saturday lOam-noon

Family Time* Families are welcome to tour the museum with a self-guide brochure. Adults with children admitted at half price. Children $2.

19 Saturday 5:30pm

Local Heroes * Baseball on Capital Region Diamonds Discuss the rich history of minor league baseball willi David Pietrusza, the author of Millor Miracles: The Legends and Lure of the Millor Leagues. Fee $10, Members $8.

20 Sunday llam

Insights: Talk & Brunch* Baseball and American Culture: The National Pastime as Microcosm Examine the symbiotic relationship between baseball and American culture Witll historian William Simons, Ph.D. Fee $15, Members $10.

20 Sunday 3pm

Gallery Talk Glory Days: Legends Come To Life Explore the lives and legends of famous players represented in our current exhibition, The Artist and the Baseball Card, with Visitor Services Assistant Julie Schwartz.

September

4 Monday

The Artist and the Baseball Card exhibition closes.

9 Saturday 1O:30am-noon

In the Studio Classroom Nose ill the News Nomlan Rockwell illustrated current events of his time. We'll discuss the events of today, and make illustrations based on our times. Ages 9-13. Fee $10, Members $8.

10 Sunday 3pm

Gallery Talk My Adventures as all Illustrator Explore our special exhibition, A Centennial Celebratioll. Rockwell's own words are your guide in a special autobiographical reading by museum guide Stephen Gershoff. Free with museum admission.

16 Saturday lO-noon

Family Time Day Dreams Rockwell's painting The Saturday People illustrates a daydream. We'll illustrate unusual scenes based on daydreams. Adults willi children admitted at half price. Children $2.

16 Saturday 6-8pm

Members' Preview The Art of Enchantment An exhibition of children's classics interpreted by renowned contemporary illustrators.

1 7 Sunday llam

Insights: Talk & Brunch* The Illustrator in America Explore dle history of illustration in America with artist/historian Bob Crozier, co-author of 200 Years of American llIustratioll. Fee $15, Members $10.

1 7 Sunday 3pm

Gallery Talk My Adventures as an Illustrator With museum guide Robert Leai1ey. See September 10 listing. Free Witll museum admission.

17 Sunday

Lasting Legacies closes at me Allentown Art Museum.

* Pre-registration required.

Please call (413) 298-4100 ext. 220 for reservations and infonnation. All programs take place at the Nomlan Rockwell Museum at Stockbridge, Route 183, Stockbridge, MA 01262.

For your convenience, the museum store is open during programs and events. Store proceeds support musuem operations.

Lasting Legacies On Tour

Hey eller ComeOnln!

Hey Fellers Come On In ' (Country Gentleman, 1920) is olle of 35 Rockwell originals featured ill Lasting Legacies.

© 1920 The Curtis Publishing Company

Come to the Arts Ball! On Saturday, July 8,1995, the

Norman Rockwell Museum will

host the Arts Ball, a gala dinner

dance and silent auction, from

6:30 p.m. to midnight. The

exciting evening will begin with

cocktails followed by an elegant

dinner on the terrace of the

museum. Dessert and dancing

under a tent in the museum

courtyard will follow. Proceeds

from this event will be used

for the purchase of Norman

Rockwell 's 1938 illustration

Lasting Legacies: Howard Pyle

and Norman Rockwell completed a

successful run at the Delaware

Art Museum in February. The

exhibit of original works by

Norman Rockwell and his "hero

of heroes," Howard Pyle, was

seen by over 25,000 people

during its stay in Wilmington,

Pyle's hometown. Delaware's

Director of Education, Lial

Jones, reported that due to the

Rockwell name recognition,

many visitors came to compare

their "local boy" with Rockwell.

They left with an appreciation of

Rockwell's skill at composition

and the way he involves viewers

in the picture. Lasting Legacies

Heart's Dearest and to benefit the

museum's art acquisition fund.

The Arts Ball's silent auction

wiJ] continue throughout the

evening and wiJ] feature items

inspired by the art of Norman

Rockwell and other objects with

an art-related theme. Tickets

for the reception, dinner and

dance are priced at $150 per

person ($135 for members). For

dessert and dancing, tickets are

$35 per person ($30 for mem­

bers). Mark your calendars and

plan to be with us at this exciting

Arts Ball gala. For additional

information and reservations,

please contact the development

office, (413) 298-4120.

11

now travels to the Allentown

Art Museum in Allentown, PA,

where it will be on view July 9

through September 17. The

Allentown Museum will hold

Saturday evening hours during

the exhibition. The museum

will also host two programs in

July in conjunction with Lasting Legacies. Laurie Norton Moffatt,

Director of the NRM, will

speak on Norman Rockwell: A

Centennial Celebration onJuly 27.

One week earlier, Jeanette M.

Toohey, Associate Curator

for Collections at the Delaware

Art Museum will lecture on

Howard Pyle and the Golden Age of American Illustration. See the

calendar for details.

lleart's Dearest, oi/oll canvas, Woman's I lome Companion, 1938.

12

A.P. Collectors and the Museum- A Winning Team We're all winners when some­

one buys an Artist's Proof from

the Norman Rockwell Museum.

You may be asking what is an

Artist's Proof? When a limited

edition of an image is printed,

the printer submits the proofs

to the artist for his approval.

llundredth Year of Baseball , Post wver j t/I)' 8, 1939, 011 loan from tbe National Baseball Hall of Fame.

The artist inspects, signs, and

retains a number of these proofs

(lithographs and collotypes) for

his own use. These are called

Artist's Proofs (A.P.'s) and are

numbered in Roman numerals.

The Museum is fortunate to

have a collection of Norman

Rockwell Artist's Proofs donated

by Mr. Rockwell to raise funds

for museum acquisitions. Our Tbis image is available for purcbase i1l Artist's Proofs. ©J939 The Curtis PubJisiJillg CompalJY

-The

Norman Rockwell

Museum at Stockbridge

Stockbridge

Massachusetts 01262

Tel. 413-298-4100 PROPERTY OF THE

NORMAN ROCKWELL MUSEUM REFERENCE CENTER

original collection of A.P.'s

consisted of 35 copies each of

several images. They are signed

and numbered by Norman

Rockwell, and a museum

certificate verifying the work's

authenticity accompanies each

print. Collectors prize these

Artist's Proofs because they

carry the illustrator's signature.

The winners? The collector,

the museum and, when addi­

tional works are purchased, the

public. Thanks, Mr. Rockwell!

For more information regarding

Artist's Proofs, we invite you

to call our Sales Office at 1-800-

742-9450.

Non Profit

Organization

U.S. Postage

PA ID

Permit 0.33

Stockbridge

J\ ,IA 01262